I am interested in how pots can be used every day to bring art into our
lives, enhancing our experience with food, adorning our homes, and
providing a necessary ritual to nourish our soul and mind as well as our
bodies. I try to make pottery that is successful in several ways:
comfortable to use, enjoyable to look at, and interesting to think
about.

I’m drawn to the beauty and mystery of high temperature ceramics and the
element of chance that occurs in atmospheric firings. Wood firing and
salt/soda firing are processes where extreme surfaces can be achieved,
in the subtle qualities of raw clays and the vibrant depths of a running
glaze. I strive to embrace these qualities in a thoughtful way for
making pottery and in bringing the wonder of the natural environment to
objects used in our daily lives.

I have developed a passion for painting with ceramic
materials. I enjoy the phenomenon of the melt and the element of gravity
that enters the image through running glaze. The loss of control is
important, blurring the lines made with the hand, and introducing a
sense of alchemy. The viscosity and movement of the glaze becomes an
important element in the final image. I am interested in translating
what I see in front of me, whatever it may be. Many of the drawings are
sketches of my studio or the view out the window. Images of pottery in
my studio often dance across the forms I am glazing. Virtually any view
may serve as a still life to respond to. The drawings often disappear
among the layers of information that become the final surface, creating
a sense of depth and curiosity.

Perhaps pottery’s greatest power lies in its association with the human
body. The language of pottery is the language of the body, with necks
and feet, bellies and shoulders, and lips to touch our lips. The
intimate relationship that develops with use strengthens this
association. A personality develops, and the pots become our friends. In
this friendship they become reflections of our humanness, and help give
meaning to our lives.